DigiCat Publishing presents to you this special edition of "American Captain" by Edison Marshall. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Collecting Captain America (2018) #1-6 And Material From Free Comic Book Day 2018 (Avengers/Captain America). It’s winter in America! For more than 70 years, Captain America has stood in stalwart defense of our country and its people. But in the aftermath of Hydra’s takeover of the nation, Cap is a figure of controversy, carrying a tarnished shield — and a new enemy is rising! Distrusted by a nation that seems to have lost faith in him, and facing threats including the Taskmaster and an army of Nuke super-soldiers, Steve Rogers is a man out of time — and out of options! Where can Captain America turn for help stopping the influence-broker cabal known as the Power Elite? And which surprising villain is pulling the group’s strings? Join acclaimed BLACK PANTHER scribe Ta-Nehisi Coates for the next chapter of Captain America’s life!

Given an experimental super-serum, Steve Rogers became a super soldier who stood for liberty... and punching Hitler in the face. That iconic image, and hundreds more, are featured in this volume, with its 192 pages of the greatest Captain America images, and text by comics legend Roy Thomas, author of 75 Years of Marvel Comics: From the Golden Age to the Silver Screen

"The topics discussed include the ways Nazi Germany was represented in Captain America Comics from the 1940s to the 1960s; the creation of Captain America in the Jewish American experience; the relationship between Captain America and Captain Britain; the

Captain America created by Joe Simon & Jack Kirby.

A finely wrought coming-of-age memoir about the author’s relationship with her beloved grandfather Joe Simon, cartoonist and co-creator of Captain America. In the 1990s, Megan Margulies’s Upper West Side neighborhood was marked by addicts shooting up in subway stations, frequent burglaries, and the “Wild Man of 96th Street,” who set fires under cars and heaved rocks through stained glass church windows. The world inside her parents’ tiny one-bedroom apartment was hardly a respite, with a family of five—including some loud personalities—eventually occupying the 550-square-foot space. Salvation arrived in the form of her spirited grandfather, Daddy Joe, whose midtown studio became a second home to Megan. There, he listened to her woes, fed her Hungry Man frozen dinners, and simply let her be. His living room may have been dominated by the drawing table, notes, and doodles that marked him as Joe Simon the cartoonist. But for Megan, he was always Daddy Joe: an escape from her increasingly hectic home, a nonjudgmental voice whose sense of humor was as dry as his farfel, and a steady presence in a world that felt off balance. Evoking New York City both in the 1980s and ’90s and during the Golden Age of comics in the 1930s and ’40s, My Captain America flashes back from Megan’s story to chart the life and career of Rochester-native Joe Simon, from his early days retouching publicity photos and doing spot art for magazines, to his partnership with Jack Kirby at Timely Comics (the forerunner of Marvel Comics), which resulted in the creation of beloved characters like Captain America, the Boy Commandos, and Fighting American. My Captain America offers a tender and sharply observed account of Megan’s life with Daddy Joe—and an intimate portrait of the creative genius who gave us one of the most enduring superheroes of all time.

The first look at the philosophy behind the Captain America comics and movies, publishing in advance of the movie release of Captain America: The Winter Solider in April 2014. In The Virtues of Captain America, philosopher and long-time comics fan Mark D. White argues that the core principles, compassion, and judgment exhibited by the 1940’s comic book character Captain America remain relevant to the modern world. Simply put, "Cap" embodies many of the classical virtues that have been important to us since the days of the ancient Greeks: honesty, courage, loyalty, perseverance, and, perhaps most importantly, honor. Full of entertaining examples from more than 50 years of comic books, White offers some serious philosophical discussions of everyone’s favorite patriot in a light-hearted and accessible way. Presents serious arguments on the virtues of Captain America while being written in a light-hearted and often humorous tone Introduces basic concepts in moral and political philosophy to the general reader Utilizes examples from 50 years of comics featuring Captain America, the Avengers, and other Marvel superheroes Affirms the value of "old-fashioned" virtues for the modern world without indulging in nostalgia for times long passed Reveals the importance of the sound principles that America was founded upon Publishing in advance of Captain America: The Winter Soldier out in April 2014.

#1 New York Times bestselling author Alan Gratz delivers an all-new, original Captain America graphic novel! In this thrilling historical adventure, 18 year-old Steve Rogers (AKA Captain America) and his young sidekick, Bucky Barnes are fighting in WWII when they encounter a threat like none they've ever seen -- a Ghost Army. The dead of this war and wars past are coming back to life, impervious to bullets, flames, or anything else the Allies can throw at them. The armies rise from the ground in the night and seem to disappear without a trace. How can Cap and Buck fight something that's already dead? And just what does the mysterious Baron Mordo, sitting in his castle atop nearby Wundagore Mountain have to do with this? Award-winning, New York Times bestselling author Alan Gratz (Refugee, Ground Zero) merges the worlds of historical fiction and super hero comics in this one-of-a-kind graphic novel that is sure to be met with major enthusiasm from fans of all ages.

From nineteenth-century American art and literature to comic books of the twentieth century and afterwards, Chad A. Barbour examines in From Daniel Boone to Captain America the transmission of the ideals and myths of the frontier and playing Indian in American culture. In the nineteenth century, American art and literature developed images of the Indian and the frontiersman that exemplified ideals of heroism, bravery, and manhood, as well as embodying fears of betrayal, loss of civilization, and weakness. In the twentieth century, comic books, among other popular forms of media, would inherit these images. The Western genre of comic books participated fully in the common conventions, replicating and perpetuating the myths and ideals long associated with the frontier in the United States. A fascination with Native Americans also emerged in comic books devoted to depicting the Indian past of the US In such stories, the Indian remains a figure of the past, romanticized as a lost segment of US history, ignoring contemporary and actual Native peoples. Playing Indian occupies a definite subgenre of Western comics, especially during the postwar period when a host of comics featuring a "white Indian" as the hero were being published. Playing Indian migrates into superhero comics, a phenomenon that heightens and amplifies the notions of heroism, bravery, and manhood already attached to the white Indian trope. Instances of superheroes like Batman and Superman playing Indian correspond with depictions found in the strictly Western comics. The superhero as Indian returned in the twenty-first century via Captain America, attesting to the continuing power of this ideal and image.

'Tis not the practice of writers to choose for biography men who have made no more noise in the world than Captain Winwood has; nor the act of gentlemen, in ordinary cases, to publish such private matters as this recital will present. But I consider, on the one hand, that Winwood's history contains as much of interest, and as good an example of manly virtues, as will be found in the life of many a hero more renowned; and, on the other, that his story has been so partially known, and so distorted, it becomes indeed the duty of a gentleman, when that gentleman was his nearest friend, to put forth that story truly, and so give the lie for ever to the detractors of a brave and kindly man. There was a saying in the American army, proceeding first from Major Harry Lee, of their famous Light Horse, that Captain Winwood was in America, in the smaller way his modesty permitted, what the Chevalier Bayard was in France, and Sir Philip Sidney in England. This has been received more than once (such is the malice of conscious inferiority) with derisive smiles or supercilious sneers; and not only by certain of his own countrymen, but even in my presence, when my friendship for Winwood, though I had been his rival in love and his enemy in war, was not less known than was my quickness to take offence and avenge it. I dealt with one such case, at the hour of dawn, in a glade near the Bowery lane, a little way out of New York. And I might have continued to vindicate my friend's character so: either with pistols, as at Weehawken across the Hudson, soon after the war, I vindicated the motives of us Englishmen of American birth who stood for the king in the war of Independence; or with rapiers, as I defended the name of our admired enemy, Washington, against a certain defamer, one morning in Hyde Park, after I had come to London. But it has occurred to me that I can better serve Winwood's reputation by the spilling of ink with a quill than of blood with a sword or pistol. This consideration, which is far from a desire to compete with the young gentlemen who strive for farthings and fame, in Grub Street, is my apology for profaning with my unskilled hand the implement ennobled by the use of a Johnson and a Goldsmith, a Fielding and an Addison.